浅谈案例教学引入世界广播电视事业史课程的方法及意义

案例教学法虽在新闻传播学领域起步较晚,但已经在新闻评论等课程教学中收到了良好的效果。《世界广播电视事业史》作为广播电视新闻学专业的必修课,涉及到不同国家不同体制的多个广电传媒公司、集团的发展史,内容庞杂。引入案例法教学在进行知识梳理的同时,还可以激发学生课前准备、课中讨论、课下继续查阅资料继续学习的积极性。     

三网融合背景下的电视图书馆建设研究

随着三网融合进程的加快,图书馆应借助三网融合的技术条件,建设电视图书馆,让用户通过电视借阅图书馆的书籍、获取图书馆提供的信息资源,从而扩大图书馆的服务范围。分析了目前我国电视图书馆的发展现状,对三网融合背景下电视图书馆的建设进行了探讨。     

基于双向数字电视网络的数字图书馆服务系统

近年来,数字电视技术迅猛发展,它不仅是一种收看方式,更是一种全新的生活方式的平台。数字电视技术作为数字图书馆拓展服务的新手段,将推动数字图书馆服务的全面发展。数字电视的发展趋势,说明了数字电视的传输网络的高带宽和服务互动性的优势,基于双向HFC数字电视网络的数字图书馆服务系统框架,可以实现数字资源阅读点播服务和远程教育讲座等功能,这些服务具有直观、易于接受和互动的特点。     

Navigating the Maze: Sources for press historians

Television history channels and programming have seen considerable growth in recent years, yet empirical research on television history audiences remains limited. This essay argues that media history scholars need better to understand what happens when audiences consume television history, examining the critical debates concerning the genre's specific modalities of rendering the past on screen before exploring what opportunities and problems it affords viewers. The essay draws on original qualitative, empirical research on audiences of historical reality television through a specific, small-scale case study of BBC Wales' Coal House at War (Indus 2008). It argues for the need to retain a dual focus upon such programming's historical content and its televisuality if we are to appreciate the intricacies of viewers' cultural consumption. The essay concludes by demonstrating that audiences' own oral and written responses to television history reveal something of how people, situated in their specific times and places, understand both their past and their present.     

EARLY MULTI-PLATFORMING

Early examples of the re-purposing of material from one medium to one or several others are examined through various cases of television cooking programmes and associated print materials. The presenter was the key property uniting the materials and the first television cook to be examined here is Philip Harben, who started on the BBC in 1946 and whose first spin-off book appeared in 1951. A small discussion of Julia Child's American work precedes the main focus, which is on the British-born Graham Kerr, from his first television work in New Zealand in 1961, through his period in Australia from 1965, to his move to Canada in 1969. During this period the serious hardcover publications were not directly associated with television, while those which stressed the televisual relationship had lower production values and needed to justify their existence with explicit commentary on the service they were providing to viewers. It is these latter however which provide valuable information about the early everyday experiences of watching television.     

MAKING TELEVISION HISTORICAL

This article considers the role of cultural memory in the interpretation of a long-standing television programme by analysing the development of cultural memory on the Eurovision Song Contest (ESC) on Finnish television and print media from 1961 to 2005. Following a cultural historical approach to television history, the article identifies four memory discourses on the ESC: Eurovision history as a national narrative of disappointment (from the 1960s onwards); histories of decline (from the 1970s onwards); the ESC as part of a national heritage of popular culture (from the 1980s onwards); and camp readings of Eurovision history (increasingly in the 2000s). The case study illustrates how even a live television event like the ESC, although not explicitly concerned with history, produces a wealth of memory discourses. The article also shows how the ESC has been commemorated increasingly since the 1980s, anticipating the current memory boom in television culture.     

THE MATERIAL FORM OF THE TELEVISION SET

This article offers a unique study of the material form of the television receiver between the 1930s and 1960s. Very little has been written to date on the history of the television set as an artefact. Yet its design and appearance played a major role in the acceptance of television in the home. The meanings of television sets are explored, from the design of wooden cabinets as family furniture to the shaping of portable sets as symbols of progress. A case study of British events is conducted, with reference made to American and other nations’ developments in so far as they relate to Britain's television receiver history. The article confirms that the material form of the television receiver contributed to a narrative of domesticity and progress by reconfiguring the relationship between home and communication technology. The fusion of craft and futurist ideas in design reflected tensions about the receiver as an expression of traditional domestic values, of progress and modernity, and as an icon.     

Regulating Swish: Early Television Censorship

This article investigates the mechanisms of early television censorship from 1947 to 1952, looking at the restrictions placed on content, and the process that shows and advertisements went through before being broadcast. This article focuses on the inner workings of the National Broadcasting Company's (NBC) censoring arm, the Continuity Acceptance Department, and takes into consideration the medium-specific qualities of television and the challenges presented to those who had the task of regulating broadcast content. In addition to a general discussion of regulations, this article examines the censorship of homosexual characterizations in early television, looking specifically at the use of ‘swish’ routines (which make use of stereotyped gay mannerisms) in comedy shows. While networks and the National Association for Radio and Television Broadcasters established codes to govern their censorship apparatuses, the process of censorship was less an enforcement of hard and fast rules than a constant negotiation over content and allowable material.     

The Forerunners of a New Era

This article explores the relationship between historicality and historiography, with particular focus on the tension between claims of the historicality of broadcast events and later absences in broadcast historiography. It analyses two types of claims of historicality: first as a provider of images of history in the making; and second, as a kind of prototype, a forerunner of a new era in which television has a central position in a global society. Looking at the production and organization of the broadcast of Yuri Gagarin's return to Moscow in April 1961, the article argues that historiography is often too bound up in the present and remains blind to perspectives falling outside the dominant narratives of the current. The claims of being forerunners, on behalf of the agents involved in producing the broadcast, fit poorly with later historical events and are perhaps nothing more than the ruins of an anticipated future. But as such it may teach us just as much about the forgotten aspects of television history as it does about our practices of writing it.     

An integrated model of parental mediation: the effect of family communication on children's perception of television reality and negative viewing effects

This study proposed and tested an integrated model of parental mediation involving family communication, parental mediation styles, children's perceptions of televised realities and the actual world, and perceptions of the negative effects of television viewing. A total of 348 Korean adolescents participated in a nationwide survey. The findings demonstrated that parental, instructive mediation, in combination with open family communication, increased not only children's perceived disparity between televised realities and the actual world, but also children's perceptions of the potentially negative effects of television. Restrictive parental mediation styles were also found to mediate the role of open family communication on children's perception of negative effects of television. In contrast, co-viewing mediation was not found to directly affect either the children's perceived reality or their perception of negative effects of television viewing.